Angrykeese - Untitled

I’m a Sonic fan, but nuh-uh. Not even close. A CYBER’S WORLD isn’t just nostalgic. The very first time I played Chapter 2 the sound of it just washed over me and took me somewhere I’ve never been before. City Escape is a fun and upbeat song, but not much more than that.

Video Game Track Bracket Round 5

Escape from the City from Sonic Adventure 2

vs.

A CYBER'S WORLD? from Deltarune

Propaganda under the cut. If you want your propaganda reblogged and added to future polls, please tag it as propaganda or otherwise indicate this!

Escape from the City:

Imagine you're a ten year old with a brand new Gamecube and you're booting up your first ever 3D Sonic game after years of 2D gameplay on the Sega Genesis, and as the first level begins THIS high energy song starts playing, and it's every bit as epic and cool as you imagined it would be. YES Sonic the Hedgehog, I WILL follow you and set you free and trust you and we will escape from the city. The nostalgic memory of this specific song is part of why I love this game so much. Like what a way to open your game.

It is one of the most iconic and well known sonic songs. It is a banger and a perfect opening section to the game.

me going 15 miles over the speed limit ROLLING AROUND AT THE SPEED OF SOUND GOT PLACES TO GO GOTTA FOLLOW MY RAINBOW

A CYBER'S WORLD?:

It has a great nostalgic quality to it even though the game came out only two years ago.

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really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:

I've been playing beat saber for exercise some recently and am rapidly realizing that oh. beat saber tracks can be an artform. dance choreography with more restrictions I guess? (except it's one that's like, an experience you, the "dancer," are having while it's happening, unexpected or emergent moves can surprise the "dancer" and I don't know that that happens quite the same way with choreography?)

First thing that got me thinking in this direction was, there's one song called "spinning eternally" that, for one section, uses a combination of notes and obstacles positioned such that the easiest most fluid way to clear it is to spin your hands in circles. It doesn't have to tell you to do it, you just are naturally led to do it by positioning and momentum.

And then, just now, I just did two different fan-made tracks for What's Up Danger (the song from Into the Spiderverse) that both try to make the player move like Spiderman using different but overlapping techniques. They both heavily used those big transparent blocks that you have to move your whole body to avoid, to make you stay light on your feet, juking, ducking, often thwipping out your hands mimicking web swinging.

The first one was I think better as a rhythm game track, fun movements, reasonably balanced difficulty throughout-- but the other more uneven one was using those blocks WAY more, often in the absence of any notes to hit, forcing you to thread the needle or RAPIDLY shift side to side to side to side with the music to avoid them, faster and faster as the song's intensity amped up.

And then the last thing at the very end of the song, no more notes, there's just one huge block in the middle of the stage taking up every inch of horizontal space you might try to dodge into, and stretching out into the last few measures. You can see it coming, it's the same object as the blocks you've been narrowly dodging for the entire length of the song, but this time you cannot avoid it. There's no way around it. You have to go through.

That's. That's art baby!

Rei Faraday

i'm honestly still kind of floored by how well these characters line up with one another.

oooh have you ever done a post about the ridiculous mandatory twist endings in old sci-fi and horror comics? Like when the guy at the end would be like "I saved the Earth from Martians because I am in fact a Vensuvian who has sworn to protect our sister planet!" with no build up whatsoever.

Yeah, that is a good question - why do some scifi twist endings fail?

As a teenager obsessed with Rod Serling and the Twilight Zone, I bought every single one of Rod Serling’s guides to writing. I wanted to know what he knew.

The reason that Rod Serling’s twist endings work is because they “answer the question” that the story raised in the first place. They are connected to the very clear reason to even tell the story at all. Rod’s story structures were all about starting off with a question, the way he did in his script for Planet of the Apes (yes, Rod Serling wrote the script for Planet of the Apes, which makes sense, since it feels like a Twilight Zone episode): “is mankind inherently violent and self-destructive?” The plot of Planet of the Apes argues the point back and forth, and finally, we get an answer to the question: the Planet of the Apes was earth, after we destroyed ourselves. The reason the ending has “oomph” is because it answers the question that the story asked. 

My friend and fellow Rod Serling fan Brian McDonald wrote an article about this where he explains everything beautifully. Check it out. His articles are all worth reading and he’s one of the most intelligent guys I’ve run into if you want to know how to be a better writer.

According to Rod Serling, every story has three parts: proposal, argument, and conclusion. Proposal is where you express the idea the story will go over, like, “are humans violent and self destructive?” Argument is where the characters go back and forth on this, and conclusion is where you answer the question the story raised in a definitive and clear fashion. 

The reason that a lot of twist endings like those of M. Night Shyamalan’s and a lot of the 1950s horror comics fail is that they’re just a thing that happens instead of being connected to the theme of the story. 

One of the most effective and memorable “final panels” in old scifi comics is EC Comics’ “Judgment Day,” where an astronaut from an enlightened earth visits a backward planet divided between orange and blue robots, where one group has more rights than the other. The point of the story is “is prejudice permanent, and will things ever get better?” And in the final panel, the astronaut from earth takes his helmet off and reveals he is a black man, answering the question the story raised. 

source

Deconstructed Damsel has power that The Apotheosis can scarcely dream of. She only wants what makes you happy, and as such, she is the proverbial genie of the lamp. You could wish for the most terrible thing you can think of and she would do it, unflinching. There are no limits to her kindness, and no limits to her sadistic cruelty.

Fear The Damsel

Blacktabby games....why does Deconstructed have the intro you gave the Spooky bitches! (Nightmare, Wraith, Burned Grey, Spectre)

What are you implying about this absolute Cardboard Cutout of a vessel?